The first part of this report argues for the claim that aesthetic objects, especially those called art, are educationally indispensable and are good, desirable, and deserving of support and respect. The second part of the report consists of papers that give some historical perspective to the movement that has come to be called "aesthetic education." The opening paper indicates that the innumerable proposals, programs, and experiments in the field of art education tend to measure success by the enthusiasm of the participants; few of them have a consistent record of survival once the initial grant is gone. The remaining papers lend support to the notion that an approach to aesthetic education as general education can endure if it makes aesthetic perception central. The projects described in the papers are evidence that classroom teachers can be taught to perceive these qualities without themselves becoming creators of art objects, and support the notion that aesthetic perception is the pivot around which swing the performing skills for those who have the talent and the will to practice them, and the critical appreciations for those who are willing to study art history and formal aesthetics as well as to become familiar with a wide range of art objects. Finally, descriptions of two programs, the Aesthetic Eye and the Heart Projects, show that teachers can develop their own materials in this field and not remain dependent on materials provided by others. (HOD)